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Ode to Napoleon Buonaparte op. 41. Verses 1–5
Catalog slip
| Title | Ode to Napoleon Buonaparte op. 41. Verses 1–5 |
| Title addition |
First West Coast Performance 75th Birthday Concert |
| Playing time | 00:04:36 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
Byron, George Gordon Noel [Librettist/in] [GND] |
| Contributors |
Schallert, William [Rezitator/in]
[GND
]
Koldofsky, Adolph [Violine] [GND ] Selmont, David [Violine] Figelski, Cecil [Viola] [GND ] Reher, Kurt [Violoncello] [GND ] Stein, Leonard [Klavier] [GND ] Fraenkel, Wolfgang [Dirigent] [GND ] Magnadisc [Label] Internationale Gesellschaft für Neue Musik [Veranstalter] |
| Date |
1949.09.13 [Aufnahmedatum] |
| Place |
Los Angeles, Assistance League Playhouse [Ortsbezug]
|
| Keywords | Musik ; E-Musik ; Publizierte und vervielfältigte Aufnahme |
|
20. Jahrhundert - 40er Jahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Link |
Ode to Napoleon Buonaparte op. 41 on the website of the Arnold Schönberg Center |
| Signature | Österreichische Mediathek, e11-00357_b01_k02 |
| Media type | Mp3-Audiodatei |
Score Ode to Napoleon Buonaparte, Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Content
Amid the acute threat of National Socialist tyranny, Arnold Schönberg’s “Ode to Napoleon Buonaparte” op. 41 is both bitter satire and an energetic testimony to the will for resistance. Seeking to convey the powerful message of the poem by Lord Byron used for the composition, Schönberg employed Sprechstimme with precise rhythmic notation. His assistant Leonard Stein remembers: “Arnold Schönberg himself heard the ‘Ode to Napoleon Buonaparte’ played live in its original form only at a rehearsal preceding the concert in honor of his 75th birthday (September 13, 1949) in Los Angeles. […] In a special coaching session with the speaker, Schönberg, his dark eyes flashing expressively while he recited lines from the work, emphasized, above all, their dramatic and expressive values. The inflections of pitch, marked so carefully in the score, were treated in a secondary manner. The main impression of the ‘Ode’ was, and remains, one of powerful dramatic expression.” (Leonard Stein, 1977)
The concert in the Assistance League Playhouse, Los Angeles, was recorded in full and sent to the composer in an elaborately designed set. Side One of the recording of his “Ode to Napoleon” finishes in the middle of the fifth verse of the poem. Shortly beforehand, in the fourth verse, the words “The earthquake voice of Victory” are accompanied by a reference to the “fate” motif from Beethoven’s Symphony No. 5, subtly woven into the musical scoring.
(Text: Arnold Schönberg Center)
The concert in the Assistance League Playhouse, Los Angeles, was recorded in full and sent to the composer in an elaborately designed set. Side One of the recording of his “Ode to Napoleon” finishes in the middle of the fifth verse of the poem. Shortly beforehand, in the fourth verse, the words “The earthquake voice of Victory” are accompanied by a reference to the “fate” motif from Beethoven’s Symphony No. 5, subtly woven into the musical scoring.
(Text: Arnold Schönberg Center)
